The Anglobitch Thesis contends that the brand of feminism that arose in the Anglosphere (the English-speaking world) in the 1960s has an ulterior misandrist (anti-male) agenda quite distinct from its self-proclaimed role as ‘liberator’ of women.

Thursday, 16 April 2009

In For Fear of the Angels (1996) English Anglican priest Charles Pickstone argues that women have come to embody the spiritual yearnings of men, yearnings that were once addressed by sermon and prayer:

Now it becomes clear that women have become an entire religion substitute (Pickstone, 1996:169).

However, Anglo culture has nurtured such atavistic, matriarchal principles from its very inception. The cult of Queen Elizabeth I, or Gloriana, came tellingly in the immediate wake of the Reformation. With the Traditional relationship between Church and Monarch severed, divinity was now embodied in the Monarch alone. The cult of Gloriana saw the first elevation of Western woman to object of worship since the advent of Christianity. The theme has continued through English history, incorporating the reigns of Anne and Victoria and reaching its recent apotheosis in the cult of Lady Diana.

When a culture has wilfully relinquished its Divine sanction, the way is paved for the worship of false idols. Anglo Saxons have taken Woman as the foremost of their graven images. When all semblance of a link to any transcendental reference point is severed, the way opens for the worship of false gods, however absurd. In Nazi Germany, the idols were swastikas, runes and 'Aryan' pseudo-science. In the Anglo-Saxon nations, and England above all, the idols are women. In Germany, the idols reflected the subterranean psychic demons of the culture. The gynophilia of Anglo culture similarly reflects the puritanical obsessions that strangle it.

The near beatification of females we find in Anglo-American culture is best represented by popular music. In reflexive opposition to all experience, Anglo-American pop musicians routinely describe females as angelic avatars of kindness, understanding and liberation. The narcissistic reality hardly reflects these ideals. In particular, the ‘revolutionary’ Anglo-American music of the Sixties is nauseatingly gynocentric: an insipid extension of existing cultural norms.

Good Vibrations (1966) by the Beach Boys is a perfect example of this puritanical tendency to idealise females:

I, I love the colorful clothes she wearsAnd the way the sunlight plays upon her hairI hear the sound of a gentle wordOn the wind that lifts her perfume through the air

Close my eyesShe’s somehow closer nowSoftly smile, I know she must be kindWhen I look in her eyesShe goes with me to a blossom world

The themes extolled in this sickly sliver of aural tapioca are purely mythical. ‘Beautiful’ Anglo-American women radiate arrogant self-love, not ‘good vibrations’. A cursory recollection of one’s youth by any honest Anglo-American will bear testimony to this.

Another famous Beach Boys song, God Only Knows (1966), expresses the numinous potency of women for the repressed Anglo-American male in baroque, almost liturgical tones:

I may not always love youBut long as there are stars above youYou never need to doubt itI’ll make you so sure about it

God only knows what I’d be without you

If you should ever leave meThough life would still go on believe meThe world could show nothing to meSo what good would living do me

By contrast, the views of the pre-Puritan Englishman William Shakespeare are utterly bereft of such gynocentric idealism:

I have heard of your paintings too, well enough; Godhas given you one face, and you make yourselvesanother: you jig, you amble, and you lisp, andnick-name God's creatures, and make your wantonnessyour ignorance.

The only distinction between these two positions is 400 years of Puritanism. Modern Anglo-American culture is subsumed by a puritan animus that affords females semi-divine status. Virtually all cultural artefacts produced in the anglosphere now deify women, be they films, novels or pop songs. However ‘revolutionary’ or counter-cultural’ Anglo-Americans claim to be, they cannot escape these gynocratic assumptions, which apply equally to hippies and Bible-belt conservatives.

It is interesting to note that whenever Anglo women make any kind of humanitarian gesture, for example Princess Diana’s bovine appeals for AIDs and landmine victims, it is inflated out of all proportion. This is because Anglo women typically make such a minimal contribution to the lot of human happiness. Consequently, mundane women like Princess Diana have become the new Saints of Anglo-American gynocracy. When their accomplishments are examined objectively, they are positively mediocre. But within the Anglorama, the least gesture towards female altruism becomes a crowning halo and ornament of grace.